Eyes, spirals and targets. Circular shapes are a constant in the work of Charo Pradas, especially in the paintings from the nineties. When asked about her concentric painting, the artist explained that she no longer painted vertically and that, for her, painting was a very physical process, closer to sensation and reaction than to an idea or preconceived plan. As a result of this physical way of working, Pradas creates a constantly evolving pictorial territory that is often close the language of Pop. The well-known hypothesis of the French mathematician Henri Poincaré about the four-dimensional sphere lies behind the circular forms of this artist, who emerged onto the Spanish artistic scene in the eighties. Rather than a theoretical approach, however, Pradas’ painting asks to be approached from life. More than erratic gestures, her painting seems to summon dream worlds, mechanical universes and cosmic movement. A gestural abstraction of great visual force.